Friday, August 28, 2015

Bob Starr - Stop This Energy Crisis

Privately pressed funk, soul LP with a touch of the blues that is sought after by the lovers of everything offbeat. A valid message then and even more so now.
Thanks go to HM for sharing this LP and Bob Starr's other LP which will be posted in the future. At the same time filling a request from Gerard.

At the hight of the energy crisis in the Netherlands. Kids having fun on the motorway on a carless Sunday.


Little Joe Blue - It's My Turn Now

Little Joe Blue, born Joseph Valery, Jr., was a relatively late starter as a blues artist. Born in Mississippi in 1934, his musical sensibilities were heavily influenced by the work of Louis Jordan, Joe Liggins, and B.B. King, which he encountered from his teens into his 20s. He didn't turn to music as a profession until the late '50s, when he was well into his twenties, forming his band the Midnighters in Detroit at the end of the decade. By the early '60s, Valery had moved to Reno, Nevada, where he began recording as an adjunct to his performances in local clubs before moving on to Los Angeles. He recorded for various labels, including Kent and Chess' Checker Records division during the early to mid-'60s, and never entirely escaped the criticism that he was a B.B. King imitator, which dogged him right into the '80s. The style that King popularized also happened to suit Valery, however, and he gained some credibility in 1966 when he racked up a modest hit in 1966 with the song "Dirty Work Is Going On," which has since become a blues standard. He had extended stints with Jewel Records and Chess from the late '60s into the early '70s, and recorded until the end of the '80s. Valery performed throughout the south, and later Texas and California, during that decade, and later toured Europe, including performances as part of the International Jazz Fest during the '80s. There is currently one CD of his work in print, the Evejim disc Little Joe Blue's Greatest Hits, a reissue of two LPs, I'm Doing Alright and Dirty Work Going On, that he cut in the '80s. His "Standing on the Threshold," featuring a powerful vocal performance and some beautifully soaring horns behind some lean, mean guitar and piano, also appears on Jewel Spotlights the Blues, Vol. 1. Little Joe passed away in April 1990. (Allmusic - Bruce Eder)
Many Thanks go to Steve W., Richard S. and Gerard for sharing this hard to find LP.


Lincoln Chase - 'n You

Lincoln Chase studied at the American Academy of Music in New York City, and signed as a recording artist for Decca Records in 1951. However, his single releases for Decca and, later, other labels including RCA, Dawn, Liberty and Columbia were unsuccessful.
As a songwriter, early recordings of his songs included "Rain Down Rain" by Big Maybelle, and "Salty Tears" by Chuck Willis (both 1952), and "Mend Your Ways" by Ruth Brown (May 1953). His first real success came when his song "Such a Night" was recorded by The Drifters, featuring Clyde McPhatter, in November 1953. The song reached #2 on the Billboard R&B chart in early 1954, and was covered by Johnnie Ray, whose version reached #1 on the UK singles chart. A version recorded by Elvis Presley in 1960 also became a hit in 1964, and the song has subsequently been recorded by many other musicians.
Chase's next major success came with "Jim Dandy", recorded in 1956 by LaVern Baker and the Gliders. The song rose to #1 on the US R&B chart and #17 on the Hot 100 in early 1957. Chase also wrote the follow-up record, "Jim Dandy Got Married". He released an album on Liberty Records in 1957, The Explosive Lincoln Chase, recorded with the Spencer Hagen Orchestra.
In 1959, he met singer Shirley Ellis, and worked as her manager for the next few years. Contrary to some reports, they were never married. After collaborating on several unsuccessful singles, he wrote the song "The Nitty Gritty" for her, and it rose to #8 on the Hot 100 in early 1964. Several follow-ups written (or co-written) by Chase - "(That's) What The Nitty Gritty Is", "The Name Game", and "The Clapping Song (Clap Pat Clap Slap)" - also made the US pop charts.
In 1973, Chase released a second album under his own name, Lincoln Chase 'N You, on Paramount Records. Featuring drummer Idris Muhammad, it has been described as "trippy, odd and funky all at the same time....a bit like a black Frank Zappa but groovier."

Chase died in the Atlanta area on 6 October 1980 at the age of 54.

This is a greatly underrated LP and I can't understand why it's never been re-released. His first Lp will be posted in the future.

Jimmy Reed - Let The Bossman Speak!

There's simply no sound in the blues as easily digestible, accessible, instantly recognizable, and as easy to play and sing as the music of Jimmy Reed. His best-known songs -- "Baby, What You Want Me to Do," "Bright Lights, Big City," "Honest I Do," "You Don't Have to Go," "Going to New York," "Ain't That Lovin' You Baby," and "Big Boss Man" -- have become such an integral part of the standard blues repertoire, it's almost as if they have existed forever. Because his style was simple and easily imitated, his songs were accessible to just about everyone from high-school garage bands having a go at it, to Elvis Presley, Charlie Rich, Lou Rawls, Hank Williams, Jr., and the Rolling Stones, making him -- in the long run -- perhaps the most influential bluesman of all. His bottom-string boogie rhythm guitar patterns (all furnished by boyhood friend and longtime musical partner Eddie Taylor), simple two-string turnarounds, country-ish harmonica solos (all played in a neck-rack attachment hung around his neck), and mush-mouthed vocals were probably the first exposure most white folks had to the blues. And his music -- lazy, loping, and insistent and constantly built and reconstructed single after single on the same sturdy frame -- was a formula that proved to be enormously successful and influential, both with middle-aged blacks and young white audiences for a good dozen years. Jimmy Reed records hit the R&B charts with amazing frequency and crossed over onto the pop charts on many occasions, a rare feat for an unreconstructed bluesman. This is all the more amazing simply because Reed's music was nothing special on the surface; he possessed absolutely no technical expertise on either of his chosen instruments and his vocals certainly lacked the fierce declamatory intensity of a Howlin' Wolf or a Muddy Waters. But it was exactly that lack of in-your-face musical confrontation that made Jimmy Reed a welcome addition to everybody's record collection back in the '50s and '60s. And for those aspiring musicians who wanted to give the blues a try, either vocally or instrumentally (no matter what skin color you were born with), perhaps Billy Vera said it best in his liner notes to a Reed greatest-hits anthology: "Yes, anybody with a range of more than six notes could sing Jimmy's tunes and play them the first day Mom and Dad brought home that first guitar from Sears & Roebuck. I guess Jimmy could be termed the '50s punk bluesman."

Reed was born on September 6, 1925, on a plantation in or around the small burg of Dunleith, MS. He stayed around the area until he was 15, learning the basic rudiments of harmonica and guitar from his buddy Eddie Taylor, who was then making a name for himself as a semi-pro musician, working country suppers and juke joints. Reed moved up to Chicago in 1943, but was quickly drafted into the Navy where he served for two years. After a quick trip back to Mississippi and marriage to his beloved wife Mary (known to blues fans as "Mama Reed"), he relocated to Gary, IN, and found work at an Armour Foods meat packing plant while simultaneously breaking into the burgeoning blues scene around Gary and neighboring Chicago. The early '50s found him working as a sideman with John Brim's Gary Kings (that's Reed blowing harp on Brim's classic "Tough Times" and its instrumental flipside, "Gary Stomp") and playing on the street for tips with Willie Joe Duncan, a shadowy figure who played an amplified, homemade one-string instrument called a Unitar. After failing an audition with Chess Records (his later chart success would be a constant thorn in the side of the firm), Brim's drummer at the time -- improbably enough, future blues guitar legend Albert King -- brought him over to the newly formed Vee-Jay Records, where his first recordings were made. It was during this time that he was reunited and started playing again with Eddie Taylor, a musical partnership that would last off and on until Reed's death. Success was slow in coming, but when his third single, "You Don't Have to Go" backed with "Boogie in the Dark," made the number five slot on Billboard's R&B charts, the hits pretty much kept on coming for the next decade.

But if selling more records than Muddy Waters, Howlin' Wolf, Elmore James, or Little Walter brought the rewards of fame to his doorstep, no one was more ill-equipped to handle them than Jimmy Reed. With signing his name for fans being the total sum of his literacy, combined with a back-breaking road schedule once he became a name attraction and his self-description as a "liquor glutter," Reed started to fall apart like a cheap suit almost immediately. His devious schemes to tend to his alcoholism -- and the just plain aberrant behavior that came as a result of it -- quickly made him the laughingstock of his show-business contemporaries. Those who shared the bill with him in top-of-the-line R&B venues like the Apollo Theater -- where the story of him urinating on a star performer's dress in the wings has been repeated verbatim by more than one old-timer -- still shake their heads and wonder how Reed could actually stand up straight and perform, much less hold the audience in the palm of his hand. Other stories of Reed being "arrested" and thrown into a Chicago drunk tank the night before a recording session also reverberate throughout the blues community to this day. Little wonder then that when he was stricken with epilepsy in 1957, it went undiagnosed for an extended period of time, simply because he had experienced so many attacks of delirium tremens, better known as the "DTs." Eddie Taylor would relate how he sat directly in front of Reed in the studio, instructing him while the tune was being recorded exactly when to start to start singing, when to blow his harp, and when to do the turnarounds on his guitar. Jimmy Reed also appears, by all accounts, to have been unable to remember the lyrics to new songs -- even ones he had composed himself -- and Mama Reed would sit on a piano bench and whisper them into his ear, literally one line at a time. Blues fans who doubt this can clearly hear the proof on several of Jimmy's biggest hits, most notably "Big Boss Man" and "Bright Lights, Big City," where she steps into the fore and starts singing along with him in order to keep him on the beat.

No way is this a good or well recorded Jimmy Reed lp  but it still has a couple of moments and it is Jimmy Reed.

Visitors requests....maybe you can help out

From now on I'll be using this post for your requests that I'll copy from the Chatbox. I'll do my best to keep it up te date.You may also leave requests, comments  and replies in the usual way and after moderation they will appear. As this posting will drop down the list with every new posting I will update it once a week to insure that it stays visible and near the top. Comments will be deleted regulary to keep them up to date.
Please do not request new or easy to find CD's as they will not be posted here. There are other excellent blogs that can help you out with your request.
That all been said we will have to start from scratch with the requests.

01-09-2014 Steve626: Big Joe Turner - The Real Boss of The Blues on Bluestime
07-09-2014 Leroy Slim: VA - Savannah Syncopators (CBS [UK]
12-09-2014: Riley: VA - Orange County Special (Flyright)
15-09-2014: Kempen: Snooks Eaglin: Message From New Orleans (Heritage vinyl)
03-10-2014 Anonymous: Herwin 405 "Cannonball: Piano Ragtime Of The Teens, Twenties & Thirties Vol. 2" and Wolf WSE106/WBCD-006: James "Yank" Rachel: Complete recordings in chronological order Vol. 1 (1934-38)
03-10-2014: Aunt Fin: New Orleans Willie Jackson ‎– 1926-1928, Old Tramp ‎– OT-1215
03-10-2014 Fabio: CC Richardson - Blues Of The City (Blue Jay) & I Ain't Got Nothing But The Blues
10-10-2014 Anonymous: Down Home Slide – Testament record
14-10-2014 Anonymous: Memphis Slim - 'If The Rabbit Had a Gun LP
17-10-2014 Sanma Bluesandroll:  Wade Walton: Shake Em On Down" Bluesville LP BV 1060
19-10-2014 Anonymous: Screamin' Joe Neal - Rock & Roll Deacon
26-10-2014 Anonymous: Big Bill Broonzy – Lonesome Road Blues LP
27-01-2015 Sam Blues: Big George Brock LP call "Should Have been there".
Litlte mack simmons religious works (70' lp's)
22-02-2015: Pablow: Harmonica Frank Floyd: Blues That Made The Roosters Dance (Barrelhouse)
03-03-2015: Anonymous: Cash McCall's - Omega Man (Paula)
03-03-2015 Marineband: San Francisco Blues Festival [1976]
Jefferson Records BL-602 (1977).

Wednesday, August 26, 2015

Phillip Walker Band - Live Pit Inn

Despite recording somewhat sparingly since debuting as a leader in 1959 on Elko Records with the storming rocker "Hello My Darling," Louisiana-born guitarist Phillip Walker enjoys a sterling reputation as a contemporary blues guitarist with a distinctive sound honed along the Gulf Coast during the 1950s.
A teenaged Walker picked up his early licks around Port Arthur, TX, from the likes of Gatemouth Brown, Long John Hunter, Lightnin' Hopkins, and Lonnie "Guitar Junior" Brooks. Zydeco king Clifton Chenier hired Walker in 1953 as his guitarist, a post he held for three and a half years.
In 1959, Walker moved to Los Angeles, waxing "Hello My Darling" for producer J.R. Fulbright (a song he's revived several times since, most effectively for the short-lived Playboy logo). Scattered 45s emerged during the '60s, but it wasn't until he joined forces with young producer Bruce Bromberg in 1969 that Walker began to get a studio foothold. Their impressive work together resulted in a 1973 album for Playboy (reissued by HighTone in 1989), The Bottom of the Top, that remains Walker's finest to date.
Walker cut a fine follow-up set for Bromberg's Joliet label, Someday You'll Have These Blues, that showcased his tough Texas guitar style (it was later reissued by Alligator). Sets for Rounder and HighTone were high points of the 1980s for the guitarist, and 1994's Big Blues from Texas (reissued in 1999) continued his string of worthy material. His 1995 set for Black Top, Working Girl Blues, shows Walker at peak operating power, combining attractively contrasting tracks waxed in New Orleans and Los Angeles. I Got a Sweet Tooth followed in 1998, and displayed no letdown in quality or power. Walker got together with fellow blues legends Lonnie Brooks and Long John Hunter in 1999 to record Lone Star Shootout for Alligator. Walker is featured as lead vocalist on four tracks and backs the others on the rest of the record. In the fall of 2002, a live recording of a spring concert was released on M.C. Records.

Rare Japanese LP recorded live in 1979 with guest artist George 'Harmonica' Smith.


Sunday, August 23, 2015

Sunday morning blues

Almost every Sunday morning since the kids have left the nest I pull out 3 LP's to listen to while we have breakfast. It's a purely random choice, though most pre-war LP's are rejected as a Sunday morning play, that turns up music I haven't heard for some time. My wive and I together with the cat, who for some reason sits at the head of the table, enjoy the music in the background with coffee and toast. On a nice sunny day as today the doors are open and in the far background we can hear the neighbours chickens and sheep. Good start to the Sunday if you ask me.
This Sundays choices were:
Big Joe Williams - Blues On Highway 49
Willie Willis - Blues, food For The Soul
VA - Johnny Otis Presents "Some Old Folks Boogie" Dig Tracks

Saturday, August 22, 2015

Clayton Love - Come On Home Blues

Red Lightinin RL 0029 This is a 10 inch vynil release from 1980 with 8 live tracks recorded, at a guess, sometime in the 70's. I haven't split the mp3's as the numbers flow into each other. Pianist Clayton Love was a prominent member of Ike Turner's Kings of Rhythm during the mid-'50s, making some of his finest platters with the legendary band. But Love made his first vinyl appearance on Lillian McMurry's Jackson, MS-based Trumpet Records in 1951 with his own jump band, the Shufflers. The combo was a fixture around Vicksburg, where Love was attending Alcorn A&M as a pre-med student. Love's cousin, Natchez bandleader Earl Reed, had recorded for Trumpet and recommended his young relative to McMurry. Love's 1951 debut, "Susie"/ "Shufflin' with Love," exhibited infectious enthusiasm if not a great deal of polish. From there, Love moved over to Aladdin in 1952 (with saxist Raymond Hill's band backing him), Modern (with Turner on guitar) and Groove in 1954, and in 1957, Love fronted and played the 88s with Turner and the Kings of Rhythm on their Federal platters "Do You Mean It," "She Made My Blood Run Cold," and "The Big Question." Turner had nothing to do with Love's pair of 1958 singles for St. Louis-based Bobbin Records; bassist Roosevelt Marks led the backing band for the clever coupling "Limited Love"/ "Unlimited Love." Long settled in the Gateway City, Love made an album for Modern Blues Recordings in 1991 with fellow ivories aces Johnnie Johnson and Jimmy Vaughn, Rockin' Eighty-Eights.
(Bill Dahl, All Music Guide)


Various - C.J.'s Roots Vol. 3 a.k.a Collector's Album From The Catalog Of C.J. Records

The last of the C.J. comps that showcase the broad spectrum of releases on Carl Jones label. From Earl Hooker, Detroit JR. to Carl himself doing "It's Carter The Peanut Man" and "Rock & Roll King". Thank goodness the rest of the tracks are worthwhile and you can always get a beer when Carl Jones's track come up.


Big Joe Duskin - Don't Mess With The Boogie Man

Pianist, singer, and songwriter Big Joe Duskin got his start playing piano in church, accompanying his father's sermons with gospel hymns. He began playing piano at age seven, but the sounds of bluesmen passing through Cincinnati, OH, caught his ear and his imagination, and his life changed. Duskin was born February 10, 1921, in Birmingham, AL, the third youngest of 11 children. His father was a preacher who found steady work on the railroad and moved the family to Cincinnati. Duskin grew up not far from the Union Terminal train station where his father reported to work. Cincinnati, situated as it is on the Ohio River, was a bustling place in the 1930s and '40s, owing to plentiful jobs on the riverboats and the railroads.
As a teenager he became enamored with blues, and loved the recordings and live shows of people like Memphis Slim, Roosevelt Sykes, and Pete Johnson. His father, Rev. Perry Duskin, would catch his son playing "the Devil's music" on the piano from time to time and made young Joe promise to stop playing blues and boogie-woogie, at least while the elder Duskin was alive and kicking. Young Joe made that pact with his father as a teenager, knowing his father was then nearing 80, but Rev. Duskin lived to be 105, so young Joe wound up working as a police officer and a postal worker as opposed to a full-time bluesman.
Although he'd carved something of a reputation out locally on the strength of his live shows, Duskin didn't record for any labels until the late '70s. In the early '70s, at the prompting of a young blues historian, Steven C. Tracy, Duskin began playing piano again at festivals around the U.S. and Europe. His first recording, Cincinnati Stomp, was released in 1978 on Arhoolie Records. He recorded several other albums for European labels in the 1980s and '90s, but Big Joe Jumps Again! (2004) was only the second time Duskin recorded for a U.S. label. In the 1990s, he continued touring and performing with enthusiasm and played at the prestigious New Orleans Jazz and Heritage Festival and the Chicago Blues Festival.
Duskin passed away May 6, 2007, but his music and ideals remain alive through the Big Joe Duskin Music Education Foundation, based in Ohio. Duskin's recordings include the aforementioned Cincinnati Stomp, reissued on compact disc by Arhoolie; 1988's Don't Mess with the Boogie Man on Special Delivery Records; 1994's Blues Rendezvous on Back to Blues; 1997's Live at Dollar Bill's Saloon on Mirage Records; 1998's Down the Road a Piece on Wolf Records; and Live at Quai du Blues, released by the Austerlitz label in 2004.
Duskin's final recording would be the aforementioned Big Joe Jumps Again!, released by the Memphis-based Yellow Dog Records label in 2004, the same year the Mayor of Cincinnati declared July 31 to be "Big Joe Duskin Day" and the pianist was presented with a key to the city.